"This brilliant and magisterial book is a very good bet to...become the definitive study of Johannes Brahms."--The Plain Dealer

Judicious, compassionate, and full of insight into Brahms's human complexity as well as his music, Johannes Brahms is an indispensable biography.

Proclaimed the new messiah of Romanticism by Robert Schumann when he was only twenty, Johannes Brahms dedicated himself to a long and extraordinarily productive career.In this book, Jan Swafford sets out to reveal the little-known Brahms, the boy who grew up in mercantile Hamburg and played piano in beer halls among prostitutes and drunken sailors, the fiercely self-protective man who thwarted future biographers by burning papers, scores and notebooks late in his life.Making unprecedented use of the remaining archival material, Swafford offers richly expanded perspectives on Brahms's youth, on his difficult romantic life--particularly his longstanding relationship with Clara Schumann--and on his professional rivalry with Lizst and Wagner.

"[Johannes Brahms] will no doubt stand as the definitive work on Brahms, one of the monumental biographies in the entire musical library."--London Weekly Standard

"It is a measure of the accomplishment of Jan Swafford's biography that Brahms's sadness becomes palpable.... [Swafford] manages to construct a full-bodied human being."--The New York Times Book Review

Amazon.com ReviewThe brilliant biographer of a quintessentially American,prototypically modern musician (Charles Ives) proves just asmasterful in probing the life and art of a 19th-century Germancomposer. Writing with passionate clarity that perfectly matchesthe genius of Brahms (1833-97), Jan Swafford traces the emotionalwellsprings of this secretive man's music without trivializing artinto mere autobiography. A composer himself, Swafford understandsand lucidly conveys Brahms's unique position in musical history:beloved by many, emulated by few, the triumphant yet melancholyheir of a tradition coming to an end in his lifetime. ... Read more

Customer Reviews (24)

Brahms, the Reluctant Romanticist
I found this book enthralling. Brahms never intended to make life easy for his biographers but Jan Swafford does a magnificent job making this story flow with marvelous details. All his life, Brahms' emotions were at war with his intellect and his closest friend's often suffered collateral damage. His long periods of self-doubt and ruthless life-long self-criticism make him a heroic figure very different from Wagner and Liszt. His determination to write innovative music worthy of Bach and Beethoven links him to the aims of 20th century neo-classicists and other modernists. Brahms' personality and conservative musical convictions continue to shape how we think about music and musical composition to this very day. The story of his life is one of the greatest and most inspiring ever told.

Unfortunate that the (paperback) book's cover is outrageously wrong:Brahms is repeatedly described in the text as blonde and blue-eyed

Excellent book, and questions remain...
This is the most enjoyable book I've read (so far) in 2009. As an amateur pianist I've been witness to the glory that is Brahms (e.g. shorter piano works; "veiled symphonies", as Robert Schumann referred to some of Brahms' piano compositions). This thoroughly researched yet non-technical (not too much to get in the way of a layperson's enjoyment) book brought to life not only this great man, but the dying age that he lived in. To understand how this person, from such humble beginnings could, in his 20s, be anointed the next Beethoven by Schumann, and go on to fulfill that prophesy "in the tramp of giants" is a story to behold, and Mr. Swafford does an excellent job. To also understand that Brahms destroyed so much of his work, yet so much remains, is also to give us a sense of the prodigious genius of this great master. And his gift with words (letters to Clara, friends, colleagues) reminds us that he was no less capable in that craft.

However, in my mind questions remain. Although I respect the author's restraint from speculating about Brahms' romantic relationships, I find it hard to believe that he would have only taken inspiration 'figuratively' from the many women who loved and admired him from within his social circles only to find 'fulfillment' in the brothels. As good as Brahms was in protecting his privacy, I think there's more here than meets the eye, and a separate thesis from some music or psychology phD candidate into the sexual psychology of Brahms (speculation and all) could at the very least prove entertaining.

I don't agree with the author's assessment that Brahms was a misogynist. His early experiences (or not) playing in the waterfront bars may have shaped his attitude toward women, but too many examples of him helping women in their careers and his 'affairs of the heart' lead me to conclude that he was an 'equal opportunity abuser', in that he could be ruthless regardless of gender (he could also be very kind and generous). Such may be the curse of genius, having those of us from below pigeonholing an eagle.

My other nits include a bit of redundancy in the book, but forgivable due to its length. What is less forgivable is the use of German terms that are only defined once within the text, and no glossary for them (and they are referred to frequently). Not easy to find in a 700 page book over the course of some weeks of reading (write them down as you go is my advice). I had planned to deduct a star for these nits, but in the end the overall enjoyment of the book trumps all.

Again, a wonderful book about a great genius, composer and man, in the context of a golden age that's on its last legs. They just don't make 'em like this anymore. Enjoy.

... was it a real love??....
I wonder how Brahms would have compensated for the defeat to his friend's wife - Clara Schumann. Although lively attention to details was a notable characteristic of the German woman, pianist and composer, her love to the sentiments of her husband - the German composer Robert Schumann - was, at times, so shallow as to miscalculate Robert's perturbation with Brahms's apathy.
How could Brahms, having degenerated to low stage, get over the perfidy of his feelings for the woman who was fourteen years his senior (and who also raised seven children)?
Brahms could find no strength in a faith in the after-life; he remained peculiar, having sneering disbelief about human relationships, though devoted to his true friends and to Robert Schumann in particular.
While there are grounds for believing that he had anxious feelings about the strength of his own passions, he was denied the excitability for happiness in love ... On the face of it, Brahms was soulfully devoted to Clara Schumann and regarded Robert with the utmost respects. Clara cordially returned and her emotions remained held in careful control. ""Yet the profound seriousness of his temperament demanded a philosophy; above all, if Death was no longer accepted as the gateway to eternal life for the righteous, what was its meaning?"" Those were his words
Yet Brahms remained 'the confirmed bachelor''
With women, Brahms's approach was destined with indecision of purpose.

Brahms gave us medley of music; conscious of the shadow of the dead, Ein Deutsches Requiem {1867/8} is one that represented heavenly masterpiece as if to seek pardon in humble supplications like the sinner who renounces lifelong bad habits when in extremity of pain.

A richly rewarding read
What a wonderful biography. Brahms' dealings with Clara Schumann, Joachim, and other friends is studied in fascinating detail through meetings and letters -- an intimate portrait of personal relations, desires and fears, quiet joys and resentments, etc., all as absorbing as a Henry James novel.

Meanwhile, Brahms' incomparable music is a life of its own, and we are treated to the master's views of it, as well as those of contemporaries and the author. The author's assessments seem to me almost unerringly valid. (Take, for example, his lofty praise of Gesang der Parzen, an underheard choral masterwork, or his concession that the Double Concerto, a concert standard, is on a less than inspired level.)

Add to this the author's occasional shift of focus to the Austro-German culture in which Brahms lived, in retrospect an even more remarkable time and place, where music was valued to a rare degree, and where ideas and events -- artistic, philosophical, political -- were poised to take momentous turns. Fascinating, even haunting, stuff, and all the more appropriate for discussion as these were issues about which Brahms had much concern in his later years.
... Read more

Karl Geiringer's biography of Brahms is generally regarded as the finest study of the composer ever published in any language. It is based upon the great body of material in the archives of the Viennese Society of Friends, for which Dr. Geiringer was curator from 1930–1938, and which contains more than a thousand letters written by and to Brahms. These letters, exchanged with family and with his famous contemporaries, reveal his loneliness, grim humor, loyalty, painful shyness, and enthusiasm for the music of Beethoven and Schubert—moods that the self-effacing composer did not publicly display. Divided into sections on Brahms's solitary, scholarly existence and his fruitful composing career—including examinations of rare first drafts—the biography relates how crises in Brahms's personal life were translated into his music, and how he often managed to ignore or suppress them. Supplemented with a new appendix on "Brahms as a Reader and Collector," this third edition of a classic biography is both a literary and musicological event.

A+
I don't read a lot of biographies because I often find the amount of detail to be excruciatingly excessive, and often the writer, even if he knows the person he is writing about personally, often tends to descend into sharp criticism of his subject, as if that were the norm in our age of gossip and entertainment. Perhaps the necessary detachment in this case comes from the fact that Brahms died just over a hundred years ago, for his was not a perfect character!

I have always liked Brahms' compositions quite a bit, especiallyhis chamber music, which is among the best. Yet I have never bothered to read a biography of the composer. I only read this one becausea relative of mine is handling the estate of one of the author'swives (not Irene, the collaborator), and while visiting this relative I was offered the book. Fortunately, from the outset I thoroughly enjoyed reading Prof. Geiringer's biography.

Geiringer acknowledges that there have been many other finebiographies of Brahms, and he decided to write one only because hewas given access to about a thousand letters of correspondence Brahmsreceived from well-know artists like the Schumann's, the violinistJoachim, and many others.Geiringer combines a vast knowledge of Brahms' life and music with these letters to produce a highly readable and entertaining work, w/o a hint of sensationalism.

In order to leave enough room for a discussion of Brahms' extensive output, the author limits his discussion of the composer's life toabout 200 pages, yet it is quite thorough. Brahms' early life of extreme poverty is discussed w/o trying to evoke sympathy, followed by the burgeoniong composer's failure to get a post in his native Hamburg, a lifelong hurt for Brahms, but which very fortuitously causes him to move eventually to Vienna, where his music flowers in a very supportive environment. The young composer's career is given a huge push by a letter Robert Schumann writes in a widely read journal, and Brahms fulfills those expectations, though he surely destroys many compositions we would love to hear, because of his high standards. Also, Brahms, unlike other composers, receives the accolades he deserves while still alive and composing.

The view we get of Brahms is balanced - we see his good humor and we also read the famous quote of the composer, who, upon leaving a party, wonders if there is anyone there he has not insulted! Also, while Brahms reaches tremendous heights in his art, he never marries in order to achieve it, and we read about the women (mostly singers of his choral music) he loves but cannot attach himself to. No, Brahms is far from perfect, yet the composer is unfailingly helpful and generous to his family, friends, and also to other composers - Dvorak usually comes to mind in this respect.

Following the biographical discussion of Brahms' life, the author as musicologist again provides a thorough but not excessive discussion of the different kinds of works the composer put out, from the chamber music to the many varieties of choral works.

Towards the end of the book Geiringer writes an excellent chapter called "The Man And The Artist," a thorough summary that, as expected,is succinct yet not sensational in any way.

Brahms: His Life and Work (Third Edition)
Wonderfully written book! I borrowed it from a friend and I love it so much I am going to buy it! This book is conveniently divided into three sections (Brahm's life, work, and letters). There are many references tohis actual letters throughout the book. Brahm's certainly had aninteresting life (definitely more interesting than what I had learned inmusic classes!) This bookexplains the relation between his music and lifeexperiences very effectively. Quite a joy to read!
... Read more

Product DescriptionThe entire corpus of Brahms' short piano pieces is contained in this volume, including the delightful and familiar Waltzes, the Scherzo in E-flat Minor, and many more. The music is reproduced directly from the definitive Vienna edition and edited by renowned musicologist Eusebius Mandyczewski, who worked from original sources, often Brahms' own manuscripts. ... Read more

Customer Reviews (3)

good edition, horrible binding
This is a great collection of some beautiful works. The problem is that the book is bound horribly. The pages are glued rather than stitched, so the book does not open flat, and when force is applied to "wear in" certain pages, the glue does not hold and the pages begin to fall out of the book. Also some pages aren't printed very well, and the print has a "shadow".

If only I could find this same collection with better production quality, it would be perfect; I regret buying this, however. It's cheaply made-- and I know you generally get what you pay for, but for this same price I got an amazing Schirmer's edition of Chopin's Preludes, Waltzes, and Nocturnes. For Brahms, however, next time I will look elsewhere for a more expensive edition. Don't buy this unless you don't mind your pages falling out, all the while the book refusing to stay open.

Great Brahms piano book
The entire collection of Brahms short piano pieces is contained in this volume. The wonderful Op. 39 waltzes which are reduced from 4 hands to 2 hands in this edition. The Scherzo in E flat Minor, the eight pieces Klavierstucke, Op. 76, the two Rhapsodies Op. 79, and the seven Fantasies Op. 116. This book also includes the most beautiful music he ever wrote which were his complete set of Intermezzos from Op.117, Op.118 and Op.119 along with the hard to find Romanze and his only Ballade Brahms ever composed. The music is taken from Brahms own manuscript and is unabridged.One thing I thought was neat about this book is there are two sets of the Op. 39 Waltzes. There is the original version and there is also a simplifed version for those that are inbetween intermediate and advanced levels. That way you can start out with the simplified version and gradually increase to the original with practice. That is how we all progress to being better players. So, don't be intimidated by this book if you don't quite consider yourself at the advanced level yet. There is something for everyone to enjoy in this book.

Good Edition
Good edition of some pretty difficult piano compositions.But if you feel adventurous, you can't go wrong for the price.Dover Editions are always well printed and an excellent value.This edition is no exception.
... Read more

Product DescriptionComposer’s greatest, most ambitious vocal work, a masterpiece of choral music that is now one of the most performed and recorded works in the repertoire of religious music. Reprinted in full score, including solo voices, chorus and orchestra, from definitive Breitkopf & Härtel edition.Amazon.com ReviewMany composers--Mozart, Verdi, Durufle, Faure--have writtensettings of the requiem, the Roman Catholic mass for the dead, and thelistener can find a score for every taste, from the bombastic to thereflective. In this 1865 composition, Johannes Brahms took a differenttack. Instead of using the familiar texts of the Latin Mass, Brahmschose to write a German requiem with a decidedly evangelicaltack. Using texts from the German translation of the Bible--beginningwith a phrase from the Beatitudes and ending with the Revelation ofSt. John the Divine ("Blessed are the dead which die in the Lord…") Brahms created one of the most comforting works of its kindever written. (There are few greater evocations of heavenly bliss thanNo. 4, the chorus sung in English as "How lovely is thy dwellingplace.") You can see how he did it with this full orchestralscore from Dover. Dover scores are short on bells and whistles--not tomention English translations--but if your primary interest is in themusic and how it was put together, you will find this a valuable toolat a bargain price. ... Read more

Customer Reviews (4)

Magnificent piece, superb edition!
Dover Publications scores are the best value-for-money scores you can find out there, but their features is a bit hit and miss. This is one of the few orchestral scores they have who appear to have everything.

This particular edition is from Britkopf & Härtel's edition from 1926. I have no issues on the choice of format. It is not a condensed score, but features all present parts, even when they are silent for the entire page. For myself, I actually find this to be an advantage, as it means more space for analytical notes.One advantage this score has that many other Dover editions don't is the presence of bar numbers; very convenient in such a large scale piece!

The paper quality and printing quality is good; heavy rubber use is not a problem and there are no noteworthy blemishes in the print.

Unless someone can point out major errors in the print, this is everything the lay person, analyst, or pretty much anyone who isn't going to play an instrument in a performance could ever wish.

Love it!
This is a great piece of music and I really enjoyed getting to see it on the page as it was written out by Brahm's.This score will become an old friend, I'm sure of it!

A great edition of a great choral work!
If you love choral music, you have to love Brahms; if you love Brahms, you have to love his Requiem. It is obvious why this work brought him broad recognition: it is touching and inspiring. This is a must-have.

The best requiem ever written
Dover does an extraordinary job in developing a quite accurate version of the German Requiem.Many consider this piece to be one of the best written in the Romantic Era.Brahms's originality and experimentation between the marriage of both the orchestra and chorus make this piece absolutely one of a kind.Strongly recommended for any listener and Dover's flawless edition is the best around if the listener wants to see the piece as Brahms visioned it.
... Read more

Though central to our concert and recording repertory, and crucial to the history of the symphony, the four symphonies of Johannes Brahms have proved surprisingly resistant to critical analysis. In this brief, elegant book, a premier musicologist conducts us through the Second Symphony to show us what is unique and remarkable about this particular work and what it reveals about the composer and his time.

Reinhold Brinkmann guides us through the symphony movement by movement, examining musical ideas in all their compositional facets and placing them in the context of major trends in the intellectual history of late nineteenth-century Europe. He delineates connections between this symphony and the composer's other works and traces its relation to the music of Brahms's predecessors, particularly Beethoven. The product of a long and deep engagement with the music of Brahms, Late Idyll captures the spirit of the composer, probes the impulses behind his revisions of the original manuscript, and explores the meaning of the disparity between the first two movements of the symphony and the last. The result is a penetrating reading of a perplexing and important composition, clearly placed within its biographical, historical, and artistic context. It will engage and enlighten students and concertgoers alike.

Product DescriptionMasterly compositions in late Baroque style by three great Romantic composers. Brahms’s Eleven Chorale Preludes, Mendelssohn’s Six Sonatas and Schumann’s Six Fugues on the Name BACH, all reprinted from the authoritative Breitkopf & Härtel complete-works editions. ... Read more

Customer Reviews (3)

Keystones of Organ Repertoire
This is Dover's reproduction of the authoritative Breitkopf & Härtel editions of these pieces. The above reviewer is right--the Brahms pieces are set much larger than the Mendelssohn. But there are some nice advantages to this edition.
-In the Brahms chorale preludes, the chorale text is written directly over the cantus firmus.
-There is a critical commentary, which also includes translations of the chorale texts.
-Mendelssohn's instructions for registration are reprinted before the Six Sonatas. These instructions are extremely useful for German romantic music in general.

The Schumann pieces included in this volume were originally written, not for organ, but for pedal piano-forte--an instrument that Schumann loved, but which failed to gain popularity.

Note also: Although this volume contains all of Brahms's organ works, it does not contain all the organ works of Mendelssohn and Schumann. In particular, it does not contain Schumann's beautiful canonic etudes (highly recommended).

Great price, hard to read
This is a great collection for the price. In addition to the pieces listed in the description, it includes the Mendelssohn Preludes and Fugues and the Brahms Prelude/Fugue on O Traurigkeit and the Fugue in a-flat minor. Many of the Brahms preludes in this edition have long passages in alto clef. I find the Mendelssohn pieces very difficult to read - the notes are crammed very close together. A movement of one of the Mendelssohn sonatas, for example, is only one page in this book, but is nearly three pages in another edition I own. The benefit of this, of course, is that there are fewer page turns, but Mendelssohn's writing can be so dense to begin with - I really find it hard to manage with this book. (I haven't had this problem with the Brahms or Schumann pieces, though.) A fine book if you're on a limited budget and can read alto clef or are willing to learn. It's worth the money just for the Brahms and Schumann. I've owned it for nearly 10 years and it has held up well.

Great German Romantics
Mention the word "romantic" to an organist and their mind instantly turns to France and composers like Widor and Franck.It's really a pity that German romantics get shortchanged in the modern repertoire.
Dover's rugged edition presents all of Brahms' works for organ, Mendelssohn's six Sonatas and three Preludes and Fugues, and Schumann's six Fugues on B-A-C-H.These pieces are readily playable on almost any instrument and are enjoyable to play.This book will make a great addition to any organist's library.
... Read more

Product DescriptionPresents a biography of Johannes Brahms ... Read more

Customer Reviews (1)

Another great book from Mike Venezia
I love this series.As an adult, it's a quick way to learn a lot about artists or composers.I left this on our kitchen table and found my 8-year-old son cuddled up on our sofa with it a half hour later, laughing and showing me one of the illustrations.
This is an excellent book!
... Read more

German Requiem Score
This is the full score in a readable format. I wish it had the full German text (which is, of course, in the music) printed in addition to the full translation in the preface. Otherwise, an excellent copy.
... Read more

Product DescriptionDuring the latter part of his life, Brahms wrote only sets of relatively short pieces. With their formal and stylistic perfection, they are among the most valuable of the late-Romantic additions to piano repertoire. Included in this 128-page edition are 30 pieces by Brahms, preceded by a helpful introduction which contains definitions of the ballade, rhapsody, capriccio and intermezzo. ... Read more

Product DescriptionBrahms' song writing has received harsh treatment throughout the past centuries. In a book which will transform the way we understand (and listen to) Brahms' works for voice, Sams reveals the depth of the composer's 'verbal expressiveness'- an accomplishment that effectively established a new language; musical form became a medium for poetic dialogue. With the addition of an incisive introduction to the composer as song-writer and to his specific use of motifs, this is an unrivalled and complete analysis, an invaluable companion for students, performers and listeners. ... Read more

Customer Reviews (1)

Superb analyses
If you're a devotee of the solo Gesänge und Lieder of Johannes Brahms, you will find this book very valuable indeed.

The author analyzes 212 of Brahms's songs - all 196 that Brahms published in opus-numbered sets, theeight resettings of Op. 103 Zieguenerlieder quartets for solo voice, andeight works without opus numbers. Not included are any of the many DeutscheVolkslieder set by Brahms.

For each song, the author provides the Germantext and a prose English translation. The translations are especially welldone; by doing them in prose, the author is able to more faithfully renderthe meaning of the German than would be the case were the translation to berestricted by the requirements of English rhyme and meter.

Eachtranslation is followed by a non-technical discussion of the song,generally in one or two paragraphs but occasionally longer. These describethe musical structure of the song and the methods that Brahms used toconvey his meaning; occasionally there is also a brief bit of background onthe circumstances of the song's composition.

For each song, there thenfollow a more technical notes section, in which the author identifies thesource of the text, identifies recurring motifs that Brahms used in hissongs (an introductory chapter describes these motifs), references othersettings of the same text by other composers, and sometimes describes earlyreactions to the song by Brahms's friends or fellow musicians.

Theanalyses illustrate the author's deep understanding of this marvelousliterature and have greatly enhanced both my knowledge and appreciation ofthis superb body of work. The principal omission, and the reason I rate thebook only four stars, is the complete absence of musical quotations -except for a few in the introductory "Motifs" chapter - in spiteof the fact that in his analyses, the author often refers to specificmeasures by number. To fully appreciate the author's insights, therefore,you will need access to scores. (Fortunately, Dover publishes a veryaffordable four-volume set of the complete Brahms songs, available fromAmazon.)
... Read more

Product DescriptionThis book is the first comprehensive collection of the letters of Johannes Brahms ever to appear in English. Over 550 are included, virtually all uncut, and there are over a dozen published here for the first time in any language. Although he corresponded throughout his life with some of the great performers, composers, musicologists, writers, scientists, and artists of the day, and although thousands of his letters have survived, English readers have until now had scant opportunity to meet Brahms in person, through his words, and in his own voice.

The letters in this volume range from 1848 to just before his death. They include most of Brahm's letters to Robert Schumann, over a hundred letters to Clara Schumann, and the complete Brahms-Wagner correspondence. They are joined by a running commentary to form an absorbing narrative, documented with scholarly care, provided with comprehensive notes, but written for the general music lover--the result is a lively biography. The work is generously illustrated, and contains several detailed appendices and an index. ... Read more

Customer Reviews (6)

This is a beautiful book ... go on: read it
Just a couple of small observations:

**** The 27th of February 1854 was the most devastating day of Brahms' life. Robert Schumann threw himself into the Rhine in an attempt at suicide. His derangement interrupted a period of enormous creative momentum in the young composer's life (P36).

After the tragedy, Brahms' immediate reaction was to rush from Hanover to Dusseldorf, to Clara Schumann's side. With the support of Grimm, Dietrich and Joachim, he offered what help he could. There were six small Schumann children to be cared for, Clara was pregnant with the seventh, and arrangements had to be made for Robert Physical safety (he would soon be taken to an asylum in Endenich, on the outskirts of Bonn) (P37). On 11 June 1854, Clara gave birth to her eighth (!!!!????) and last child, Felix. (P45).

Was Felix the Seventh ??? All my references indicate that Clara Schumann raisedseven children, an eighth died in infancy.

Seven of the above children were still living when their father died. Hence Clara actually reared seven children because their son Emil died in infancy, whereas she actually gave birth to eight.

**** WAS IT CLARA'S COMPLEX that caused Brahms to fear public appearances, when he was 23-25(??); given the fact that Clara was an excellent pianist with no equal, and Brahms could not have possibly matched her skills.

""J. Brahms wrote copiously to Clara, not only during this tour (1854), but for the next two years as well. For a time he was writing at least once a day, thereby leaving us a treasury of letters which overflow with emotions, and the details of his existence"".
It looks to me Brahms feared the public, in general. See JB letter to Julius Otto Grimm; ""Dusseldorf September 1855...I intend to play in public this winter and notice with horror that my aversion to playing for people has got quite out of hand. How will it go? At times I am seriously frightened. I do now practice a lot; also I have quite a lot of lessons to give.... (P112)""... Anything to do with Clara's complex!!! I ask??
""Brahms first appearance with orchestra took place in Bremen, on November 20, 1855. He played two works by Beethoven: The Emperor Concerto, OP.73, and the solo Fantasy in G minor, OP.77. (P114)
The greatest portion of what we know about him during these earlier periods of his life comes from what he wrote to Clara (P66).
Clara told in her diary his letters were her only joy. She too wrote frequently except that her replies have perished `I have often written to him, which always cheers me up, for of course, I cannot write to Robert of the things that occupy my mind; his spirit does not accompany me, when I go into a concert it does not feel me as if he were wishing me success - then I am dreadfully melancholy, and the one thing that lifts me , that always strengthens me, when my courage threatens to fail, is that He, Johannes, the dearest, most faithful friend, thinks of me and accompanies me with his good wishes"" .

The letters which still exist are only a portion of what he wrote.

""JB to Clara Dusseldorf 22/2/1856. .... I think to myself how beautiful it would be if we both made really vigorous strides and became capable, great musicians. Each of us places the other above himself, what is more natural but that we should squabble with each other, as long as we squabble only with each other..... (P121) Prior to that, on Feb 12, Brahms wrote Clara: ""It always depresses me a little that I am still not a proper musician, but I have the talent for it, more, probably, than is usual in young people nowadays.... (See comments on Mozart) (P120)""

Readers should not venture to promote psychological probings ....

Just Wonderful !!
I'v been a Brahms' music fan for a long time and i have read three different biographies, without having the opportunity of get closer to his thoughts before i buy this great book. Now I know how Brahms' mind worked, how (really) was his relationship with his friends and how were his feelings and thoughts during the periods he composed that wonderful music.

I'm not an english born speaker, so i had some difficulties in understand the meaning of some sentences, more exactly, some modisms, wich are very frecuent in Brahms' speech.

In spite of this, I recommend this book because it's just wonderful.

Wonderful translation, superb commentary
The virtues of this book are several: about 800 previously untranslated letters of Brahms, masterfully translated andcarefully and judiciously annotated, based on research entirely from source materials which, amongother things, give the lie to the unsavory myths of Brahms childhood,proving beyond doubt that he came from a hard-working, well-meaning familywho lived in a good neighborhood,and provided him with a good educationand normal childhood.The author's research confines to the rubbish heapthe sillyFreudian theories, never based on anyevidence, for his reasonsfor not marrying.This compendium of letters and their absorbingly written annotation is a gold mine for amateurs and professionals interestedin a truthful picture ofBrahms.

Excellent, comprehensive, and revealing.
Unfortunately, Jan Swafford did not have a chance to read this book before writing his own "biograohy" of Brahms.If he had, he would have been privy to a wealth of information, much of which has not been availableto non-german speakers.Avins' commentary on the letters of Brahms andmany of his correspondents is clear and well researched.

From recent reviews of: Johannes Brahms - Life and Letters
"Richly informative" - Sunday Times, London. "Occasionally a book comes along which changes perceptions of its subject.This is such a book. ... [The] annotations are not only scholarly but often witty and always full of common sense. ... Wherever you read, you will feel you are in Brahms's world and that he is speaking to you." - Sunday Telegraph, London. "There are many gems here ... much to be gleaned from what Avins has selected.. Those who seek to be on more intimate terms with Brahms and his circle... will find much to pore over in this collection" - Los Angeles Times. "Little short of a bombshell ... Ms. Avins's contributions are terse and often illuminating... fascinating illustrations, a helpful chronological table and other tools... Brahms reveals himself in workaday as well as transcendent moods." - New York Times. "This is a work that will thrill Brahms fans and provide much pleasure to those entertained by the personal correspondence of great artists.Recommended for general and academic libraries." - Library Journal. "It is not much of an exaggeration to say that the book presents Brahms in a new but quite convincing light... the book can be read as a biography... this composer has seldom seemed more lovable, more vulnerable, more honorable." - Gramophone. "This is one of the most important music books published in recent years." - The Oldie, London.
... Read more

Johannes Brahms: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition will include research published since the publication of the first edition and provide electronic resources.

Product DescriptionBrahms composed these melodic finger exercises for use in preparation for performing his more challenging piano works. They encompass a great many technical problems found in piano music composed up to and including the Romantic period.Great emphasis is placed on finger independence as well as on the total independence of hands. ... Read more

Product DescriptionThe Norton Critical Score of Brahm's Fourth Symphony is the latest volume in this highly-regarded series, in which an authoritative score--here the first edition as corrected by the composer--is combined with illuminating essays and documents for an in-depth study of the work.

Highlights of the Norton Critical Score of Symphony No. 4:* The first edition of the score with Brahm's corrections incorporated* Historical background* Correspondence before publication* Reviews of first and early performances* Analysis and criticism by music scholars, including: Hugo Riemann, "Johannes Brahms, Fourth Symphony in E-minor" (1897); Heinrich Schenker, from Free Composition (1935); Rene Leibowitz, "Aimez-vous Brahms?" (1971); Walter Frisch, from Brahms: The Four Symphonies (1996); Raymond Knapp, from Brahms and the Cahllenge of the Symphony (1997). ... Read more

Product DescriptionThis is the largest collection of Brahms songs commercially available. Historical notes on all songs address compositional context in the composer's career, remarks about the poets and early performance history. A new translation appears on the first page of each song. New musical research, clear new engravings make this a distinguished source of song literature. ... Read more

Product DescriptionBrahms was a master of musical structure, especially in his four symphonies, included together in this one-volume edition: No. 1 in C Minor, No. 2 in D Major, No. 3 in F Major, and No. 4 in E Minor. ... Read more

Customer Reviews (9)

Nice score
Very clear score. All instruments are labeled at the beginning of each system on every page. It is nice to have all four symphonies in one place. The binding stays open well.

nice book even if it isnt what we ordered
We ordered a book for a college course, and received this one in error.The book was packaged well, in excellent shape upon arrival and, glancing through it, is a fine book for anyone needing Brahms symphonies. The pages are clear and easy to read.

Wonderful Dover publication
Like all the other reviewers here, I realize there's no reason to say much about the music included in this score; Brahms' symphonies are all among the true gems of post-Beethovinian symphonic repertoire. Enough said.

Compared to Dover scores by composers contemporary to Brahms, such as Wagner, the notation in this score is surprisingly up-to-date. There's no eccentric clef use, and the instruments are in the right positions compared to each other.The only irregularity I've been able to find is that the piccolo flute is printed below the regular flute in the fourth symphony, and I think we all can live with that. Some people may be scared off by the fact that there's some German involved, but I doubt that this should be a problem for anyone, as long as you remember that H = B and B = Bb. In fact, the only part of it that's German is the names of the instruments; all text related to the musical notation uses familiar Italian terms.

My only gripe with it, something Dover can't really be faulted for, is the sometimes rather cramped format. The ensemble Brahms uses is curiously ill-suited for this format: When the entire ensemble is playing, you have more free space than even the most pedantic analyst could ever fill. For passages where a few instruments are left out, a reduced score with two (or some very few times three) staff systems put on each page, leaving the page already cramped, with little space for analytical notes. I can't really subtract any stars for this though, since Brahms wrote his music this way, and this is the standard score size for symphonies published by Dover.

These small notes aside though, I think I can heartilly recommend this to anyone interested in following along with their favourite Brahms recording (or in concert), or use it for analytical purposes. All minor gripes put aside, it is still the product that by far offers the best value on the market.

Marvelling at the Mosaics
The intricate and painstaking weaving of the dozen or more "voices" of strings, woodwinds, and brass that Brahms wove into his symphonies quieter, slower movements can, in my opinion, be more fully grasped and appreciated by having the full orchestral score there, right before ones eyes. Hearing the notes is one thing; but hearing and seeing the notes at the same time is, to me, exhilarating!

I learn more about the possibilities (timbre and range) of different instruments (clarinet, English horn, and cello especially) by having the notes and speeds of their passages down, in black and white, in front of me. (Another thing: it is both fascinating and instructive to play passages written for clarinet or cello on a different instrument, such as an acoustic guitar, a piano or a trumpet--all of which I (amateurishly, to be sure!) play.

For me, having the scores of these great symphonies has led to my having a richer response to them, and I would heartily recommend this book to anyone desirous of penetrating to the heart and soul of such endlessly satisfying and immortal music.

Wonderful
Magnificent value for a full-size edition of all four of Brahms' symphonies. Perfect for aspiring conductors/composers/musicians.
... Read more

In this sequel to A Guide to the Solo Songs of Johannes Brahms, Lucien Stark opens up a beautiful and largely neglected repertoire, providing the full German text for each song, along with a new English translation, notes on vocal ranges, and a wealth of engaging commentary of technical, aesthetic, and historical interest.

Missing quotations limit the value
The vocal duets and quartets by Brahms are performed very rarely these days, but their number includes some works that can stand with the composer's finest efforts and are thus deserving of more frequent hearings.In this book, Lucien Stark analyzes the 25 duets (including the fivenumbers of Opus 75, which were written for one or two voices but are almostalways done as solos) and 61 quartets that comprise this body ofwork.

For each song, Stark provides the German text, along with anEnglish translation. He does not attempt to maintain the rhyme or meter inthe translation, which lets him reflect accurately the meaning of theGerman. He then gives the range employed for each voice in the work, theapproximate timing for a performance, and the form. This information isfollowed by a brief descriptive analysis of the work. Stark's analyses arenot so detailed or exhaustively researched as those by Eric Sams in hisjust-published volume on Brahms's solo works.

The major deficiency ofthis book is the absence of musical quotations. In his introduction, theauthor admits that "much of the analysis assumes that a score will beaccessible to the reader." Scores for many of these works areavailable only as individual sheets -- and for a few, not in print at all-- which makes it difficult to get full value from much of Stark'sotherwise commendable writing. A 158-page book that sells for $35 shouldhave been expanded with quotations of key musical material.
... Read more